Antiveduto Grammatica

In today's world, Antiveduto Grammatica is a topic that has gained great relevance and has captured the attention of people of all ages and backgrounds. Whether due to its impactful effects on society, its importance in personal development or its implications on the global economy, Antiveduto Grammatica has been at the center of numerous discussions and debates. Considered one of the fundamental pillars today, Antiveduto Grammatica has aroused unprecedented interest and has generated a large number of conflicting opinions. In this article, we will explore in depth and detail the various aspects related to Antiveduto Grammatica and its influence on different areas of daily life.

Antiveduto Grammatica, by Ottavio Leoni
David regresa triunfante con la cabeza de Goliath (David returns triumphant with the head of Goliath), c. 1610

Antiveduto Grammatica (December 1569 – April 1626) was a proto-Baroque Italian painter, active near Rome.

Grammatica was born in Rome, where he was baptised in December 1569.[1] According to Giovanni Baglione the artist was given the name Antiveduto ("foreseen") because his father had a premonition that he would soon be born during a journey between his native Siena and Rome. It was in Rome that Antiveduto was raised and based his career. His apprenticeship with the Perugian artist Giovanni Domenico Angelini (Giandomenico Perugino)[2] introduced him to small-scale work, mostly on copper. He gained the nickname "gran Capocciante" because he specialised in painting heads of famous men. A decade later, in 1591, Antiveduto set up as an independent artist.

Grammatica's earliest surviving public commission, an old-fashioned configuration depicting Christ the Saviour with St. Stanislaus of Krakow, St. Adalbert of Prague and St Hyacinth Odrowaz, was painted for the high altar of Santo Stanislao dei Polacchi. Characterized by Giulio Mancini as most zealous in his profession, Antiveduto began his association with the Accademia di San Luca in 1593. He gained great familiarity with the two protectors of the Academy, Cardinals Federico Borromeo and Francesco Maria Del Monte, and was closely attached to the latter; so much that he was elected to the highest office of the association as "principe" in 1624. Shortly after this, however, he became embroiled in scandal. The machinations of Grammatica's enemy Tommaso Salini over the attempt to sell off the Accademia's altarpiece, thought to be by Raphael, brought about a humiliating retreat, when Cardinal Del Monte intervened to re-establish the constitution of the institution. His fortunes were in a way linked with the Cardinal himself, who was much frowned upon by the Barberini, and his death preceded that of Del Monte by four months, in April 1626.

His works are exhibited in numerous public collections, including the State Hermitage Museum - St Petersburg,[3] the Museo Nacional del Prado – Madrid, [4] the Kunsthistorisches Museum, Vienna,[5] the Muzeul Naţional Brukenthal - Sibiu/Hermannstadt, Romania,[6] the Kelvingrove Art Gallery and Museum – Glasgow, [7] and the Maison D'Art Gallery, Monaco.[8]

References

  1. ^ Francesco Petrucci, "L’atto di nascita di Antiveduto Gramatica", Paragone, n. 57 (2004), pp. 79-80.
  2. ^ Lione, Pascoli (1732). Vite de pittori, scultori, ed architetti Perugini. Antonio de' Rossi, Strada del Seminario Romano, Rome. p. 133.
  3. ^ "Works". hermitagemuseum.org.
  4. ^ "Santa Cecilia - Colección - Museo Nacional del Prado". www.museodelprado.es.
  5. ^ "Singende Hl. Cäcilia mit zwei musizierenden Engeln". www.khm.at.
  6. ^ Solutions, MB. "Muzeul National Brukenthal Sibiu". www.brukenthalmuseum.ro. Archived from the original on 2019-03-24. Retrieved 2018-03-06.
  7. ^ "FONDAZIONE ZERI - CATALOGO : Glasgow Art Gallery and Museum — Gramatica". catalogo.fondazionezeri.unibo.it.
  8. ^ "Antiveduto Grammatica - Old Masters - Maison d'Art à Monaco". oldmasters.com. Archived from the original on 2018-03-07. Retrieved 2018-03-06.

Further reading

  • Gianni Papi, Antiveduto Grammatica, Soncino 1995
  • Kathryn Bosi Monteath, “6. Antiveduto Gramatica: Saint Cecilia with two angels. Portrayed instruments”, "Marvels of sound and beauty" : Italian Baroque musical instruments, catalogue of the exhibition Florence, 12 June-4 November 207, Florence, Giunti, 2007, pp. 146–47
  • Helmut Philipp Riedl, Antiveduto della Grammatica (1570/1-1626) Lebun und Werk, Berlin 1998
  • Antonella Triponi, Antiveduto Grammatica. Una disputa del primo Seicento romano: nuovi documenti Storia dell'Arte 103
  • Gianni Papi, Aggiornamenti per Antiveduto Gramatica, Arte Cristinana Marzo-Aprile 2003, 815 pp. 117–124
  • Massimo Pulini, Il fossombrone ritrattista degli oratoriani. La racolta Mattei e Antiveduto Gramatica Paragone Marzo 2005 pp. 31–39
  • Giovanni Baglione, Le vite de' pittori scultori et architetti. Dal pontificato di Gregorio 13. del 1572. In fino a' tempi di papa Vrbano ottauo nel 1642, Roma, stamperia d'Andrea Fei, 1642, pp. 294–295, SBN IT\ICCU\NAPE\011153.
  • Alberto Macchi, L'uomo Caravaggio - atto unico / prefazione di Stefania Macioce, AETAS, Roma 1995, ISBN 88-85172-19-9
Wikimedia Commons has media related to Antiveduto Gramatica.
  • Orazio and Artemisia Gentileschi, a fully digitized exhibition catalog from The Metropolitan Museum of Art Libraries, which contains material on Antiveduto Grammatica (see index)